Oscar Peterson - Exclusively for My Friends

These four discs collect the material on six long plays of trios and solos that Oscar Peterson recorded in Villingen, Germany, between 1963 and 1968. On standards galore, Peterson never lets up in his rigorous, swinging approach. He is at his prime on these recordings, as he himself noted later. The improvisations range from extraordinary to awe-inspiring. The lyricism of Nat King Cole is in there, along with Art Tatum-esque rococoisms and Bud Powell-like attack. Which partners best complemented Peterson's girth, and bowed to it least, is always in dispute. On six tracks here, Ray Brown and Ed Thigpen lay claim against the earlier Brown-Herb Ellis unit. The set comes with a 32-page booklet containing black-and-white historical and original-cover photographs, and a detailed discography. --Peter Monaghan Amazon.com

CONSUMMATE PERFORMANCES FROM THE GREAT MASTER

If your a Peterson fan,this is the 'loin cut'.In this well-rounded collection,there are two trio formats, including the high calibre playing of SAM JONES and RAY BROWN,BOBBY DURHAM,ED THIGPEN,AND LOUIS HAYES on bass and drums respectively. All provide exceptional support throughout this collection.And in addition,Peterson presents us with a beautiful set of solo piano pieces which could well be considered the 'companion' to his other brilliant solo recording,'TRACKS'.This comes very highly reccommended, as it represents the quintessential example of piano performances in the trio and solo platforms at the very highest level from one of the greatest legends of the piano in modern jazz history. Highlights for me were 'AT LAST LONG LOVE',and'TIN TIN DEO',which are great examples of how much can be done in the 'trio platform'with good arranging,and gorgeous solo interpretations of 'I SHOULD CARE','WHO CAN I TURN TO', and 'BODY AND SOUL'.On all three Oscar starts in a rubato format,where he lays down those 'fat' sonorities which only the largest of hands can pull off,those lush and dense voicings,the prototypic signature voice of Oscar Peterson.Then some more reflective pieces'LIKE SOMEONE IN LOVE',and,'I'M IN THE MOOD FOR LOVE'(an exhaustive study of the possibilites in the approach to the re-harmonization of chords,especially in the alteration of dominant functions),'LITTLE GIRL BLUE'for it's plaintive and recflective aura,as it floats away on Debussy/Ravel-like harmonic textures.'BYE BYE BLACKBIRD',in which Oscar provides us with a virtual masterclass in the art of 'block-chord' playing.And finally,'LULU'S BACK IN TOWN',a great example of genuine stride-piano.Peterson 'digs' right through this one. EXCLUSIVELY FOR MY FRIENDS is a marvellous collection you can return to again and again over the years for your listening pleasure.The whole package is a real treat!Enjoy.Health and Happiness.






March 20, 2007

The sensational Oscar Peterson - 10 stars.

This album (4 CDs) has several of the masterworks of Oscar Peterson who is (without any doubt) the greatest jazz piano virtuose ever.

Since I was a child I listen Oscar Peterson albums and I can guarantee you that it is a very nice emotional experience.

As a pianist I know that it will be very difficult for the world to produce another pianist with the dexterity and sensibility of Oscar Peterson.

I was owing him this review.

Absolutely phenomenal.

August 17, 2005

Oscar at his best

I wore these records out when they first were issued in the Sixties. It is wonderful to have them available in CD form. They represent Peterson at his best--superb rhythm sections, completely involving performances by Oscar, and what has to be one of the best sounding live recordings ever made of a jazz musician. Just like being there. I see they have also been released on SACD. Hard to believe these recordings could sound any better. In my opinion this set contains some of the greatest jazz piano ever recorded. Peterson could be flashy and glib, but not here. Just deep swinging jazz, with great blues playing underlying nearly every selection. February 18, 2005

Best Peterson, Period!

When Hans Georg Brunner-Schwer decided to record and produce Oscar Peterson on several albums in the 1960s, Peterson was given free reign to play the way he wanted to play. Brunner-Schwer (the founder of Polygram Records) managed to record what are arguably Peterson's finest recordings.

Peterson plays a hybrid of swing, bop, and rag on these exquisite recordings. With a combination of Art Tatumish ornamentations, block chord improvisations, and orchestral highs and lows, Peterson managed to be subtle and showy without ever compromising his musicianship or insulting the intelligence of listeners.

There are almost too many highlights to mention in these recordings. Yet a few stand out. Peterson glistens and swings on Gershwin & Gershwin's "SUMMERTIME". His brooding and lengthy interpretation of McHugh & Fields' "I'M IN THE MOOD FOR LOVE" is without comparison and is perhaps the definitive Jazz piano interpretation. He displays his perfection at dynamics with the Benny Carter chestnut "WHEN LIGHTS ARE LOW" which begins with solo piano, merges into a slow soft-shoe trio, then builds to a blues-drenched crescendo. This compilation features a diverse array of standards as well as Peterson's own compositions "SANDY'S BLUES" and "NOREEN'S NOCTURNE". Disc Four grants the listener the treat of Peterson playing solo piano.

No serious Peterson fan can afford to not own his recordings from this period. No serious Jazz fan will find a more coherent and listenable compilation. The Non-Jazz fan will be converted. Worth every penny!! January 10, 2004

A Feast of Great Music

The are some great musical artists that have drawn me into different kinds of music (e.g., the Beatles, Leontyne Price, Mary Chapin Carpenter). After many years of listening to music, I finally got into jazz through Oscar Peterson's great playing. Although I listen to other jazz artists, Peterson is still the most satisfying. These recordings have some of his best playing, with great sidemen. If you love jazz piano, this is set is well worth the price. August 27, 2002

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